Interpreting the philosophy of René Descartes; "Cogito ergo sum", I think, therefore I am. Inspired by this cartesian thought: "But there is a very powerful and cunning deceiver who uses all his industry to deceive me always. There is, therefore, no doubt that I am, if he deceives me; and that he deceives me as much as he pleases he can never do that I am nothing, as long as I think I am something. So that after having carefully thought of it, and having carefully examined all things, we must conclude, and hold that this proposition: I am, I exist, is necessarily true, whenever I pronounce it, or that conceive it in my mind." - René Descartes (“Metaphysical Meditations”, 1641)

The methodical doubt of Descartes is therefore a deliberate, rational and active doubt, the object of which is to attain a certainty, upon which a sure and certain world can be reconstructed. To the discovery of an undoubted truth. Applying this attitude to the work of painting to study the creative process and discover its structure. How thoughts and gestures confront each other. It is the work in painting itself that becomes the motivation to act, to create. Colors and movements follow random decision. Instinctively, sometimes, and reflected at other times.

The intuition of gesture dominates the act of painting. For the artist, it is the infinite potentiality offered by abstraction that challenges it. The notion of freedom in action is transposed into his works by the use of liquid mediums. Water and oil, two substances that repel one another, highlight the dualities that inhabit his work. It is a continual opposition between chance and thoughtfulness, the urgency and fragility of the fine lines which emerge from this confrontation between the need for independence and the limits of his conscience. The whole method will consist in following an order, that is to say, in bringing the obscure propositions back to the simplest, and then gradually elevating us from the simplest to the most complex, always relying on intuition and deduction.